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As I read, I start to form clear ideas of the characters and allow myself to be a proper conduit for this author's voice so that you will feel you have been on a seductive audio journey.

There was this girl who went to my school, and she did a Nikki Giovanni poem, 'Ego Tripping,' and it was just different from everyone else's. It wasn't flat recitation. It had an energy and a life to it. And it made me sit up in my seat, and my eyes got wide, and I really felt inside myself, 'She's making me feel things. I want to do that.'

Words are really beautiful, but they're limited. Words are very male, very structured. But the voice is the netherworld, the darkness, where there's nothing to hang onto. The voice comes from a part of you that just knows and expresses and is.

When I was writing pretty poor poetry, this girl with midnight black hair told me to go on.

After 'Nikki' and 'Steve Harvey,' I had written on a show called 'The Oblongs,' which was pretty well respected and had a lot of 'Simpsons' writers on it. So I was a TV writer with an interesting voice at that moment.

It was interesting doing impressions as somebody else doing impressions. Normally, I'll do a voice, and it's me doing the voice. To have to be Robin Williams doing the voice was an interesting sort of study in getting into somebody's head.

In the late 60s and early 70s, I did get interested in voices, and in narration and embodying the voice, making the poem sound like a real person talking.

Read at a time when everything feels intense, seminal, and like you're the first person to discover it, freshman year of college, Carol Gilligan's 'In a Different Voice' made my hair stand on end with awe.

Character and story are suggested by the voice in the words themselves.